Reviews

If I were Funeral for a Friend, I’d be pissed. See, Atlantic records decided to send their latest full-length, Tales Don’t Tell Themselves, to reviewers via digital press kit and download. This is not necessarily a problem, but it does create a lesser experience in regards to the album and can open the door to all kinds of other, detrimental issues. First off, there’s no artwork, so there are no lyrics. The problem with this is that the record is lyrically themed around oceans, sailing, and general nautical-ness. So, strike one. Secondly, the first track, “Into Oblivion (Reunion),” which also happens to be one of the strongest on the record, is cut off in the middle of the final chorus, right at the song’s emotional peak. Also no good. Anyway, all that aside, Funeral for a Friend has recorded an epic (in parts) and wildly inconsistent (in other parts) album full of hooks and a production level damn near unmatched in today’s emo/punk scene.
 
The previously mentioned opening track is a great way to kick of the record. It begins with programmed, electronic beats and is followed suit by an orchestra and beautiful, overlapping melodies. All of this comes to a crashing end with the entrance of the guitars and singer Matt Davies, which all helps to push the song to what I assume is an epic conclusion, though I wouldn’t know, since I didn’t get to hear it. After this song the album features quite a bit of filler until tracks five and six, “All Hands on Deck,” parts I and II. Seriously, I’ve listened to this record ten times and I have no recollection what tracks two, three, or four even sound like. But, the middle two songs provide a great mid-section to the record and help to bring the listener back to the album a bit more with aggressive verses coupled with catchy, open choruses and some nice orchestral arrangements, all of which really seems to capture the theme Davies was going for in the lyrics.
 
As I listened, it struck me that the Funeral for a Friend formula seems to contain equal parts thick, melodic guitars (think Saosin or softer Thrice) working in tandem with arena rock choruses (like the kind U2 have perfected). When this works, it works really well. But, a lot of times, the band gets lost in their own quest for the perfect melody; some of the songs on this record are downright forgettable.
 
The record ends with the best track, the over-the-top “The Sweetest Wave.” It was as if FFAF waited until the listener was about to give up before packing the best riffs they could into the final tune. And it doesn’t hurt that the orchestra makes another appearance, adding one more layer to the already beautiful song. At almost six and a half minutes, “The Sweetest Wave” is the defining song so far in the FFAF catalogue. It’s just a shame the rest of the record really doesn’t hold up in the face of this song…or the others I’ve mentioned as being worth your time. Honestly, if you were to just put the four songs I’ve mentioned together on an EP, you would have a very good and interesting record. But, unfortunately, there are six other songs on this album which are almost entirely forgettable, making Tales Don’t Tell Themselves only slightly above average.